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heva

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Everything posted by heva

  1. Czech composer Petr Eben, whose wide variety of music has been performed around the globe, has died. He was 78. Eben died late Wednesday at his home in Prague, his son Marek told the CTK news agency Thursday. He was battling an unspecified long-term illness. Born Jan. 22, 1929, Eben showed a musical talent at early age. He was able to play piano at age 6 and organ at 9. A year later, he composed his first musical pieces. After World War II, when he was interned by the Nazis in the Buchenwald concentration camp, he studied piano and composition at Prague's Academy of Music, and taught at Prague's Charles University and the Academy of Performing Arts. From 1977-78, Eben was teaching composition at the Royal Northern College of Music in Manchester, England. Throughout his career, he composed some 200 pieces, including works for organ and piano, orchestral and chamber compositions, masses, cantatas and music for children. Among them: the organ cycle "Job," the oratorio "Sacred Symbols" for the Salzburg Cathedral, "Windows" (4 movements according to Marc Chagall for trumpet and organ), and "Prague Te Deum." He performed his music around the world, giving improvisational organ and piano concerts in such venues as Paris' Notre Dame, London's Royal Festival Hall and the Crystal Cathedral in Garden Grove, Calif. He was made a Chevalier des Arts et des Lettres by France in 1991 and received a high Czech decoration, the Medal of Merit, in 2002. Source
  2. Thank Adobe for the 'Save a Copy' button
  3. Also, I don't understand how a dutch organbuilder could have done this project; they know how 'Monumentenzorg' (heritage) work here: approval first, than work (also just like (re)building a house). Can't be much different elsewhere. Personally, I don't like either of the cases:the old one too 'originally' ugly (to me), the new one a neo somewhat-19th-century-dutch pastiche.
  4. heva

    The Chamadron

    FWIW, the chamadron seems to be on 250mm pressure. That's only a third of the Cologne-Blasters
  5. In a way, I can't mind spending this amount of money on an 'original' instrument like this, keep it. Spending 1.2 million euro's on a 34stop would-be copy of a Silbermann, and then claiming it to be a 'Bach-organ', while fully disregarding whatever other/more-important organs surrounded JSB, seems more insane to me. Surely, grass and green and other sides etc. etc.
  6. Read the book here W.rc....r's diaphone is showed here.
  7. Try the Fantasy and Fugue on BACH, or one of the symphonies for organ. Not much recordings around, you might try this one. You could listen to some variations played by the composer here.
  8. Yes, even for three organs (large-small-barrel) - quite modern. Arie J. Keijzer has written and still writes many works. Sublime organist himself (played almost everything in concert), 'knows' how to write for the organ (no tricks/gimmicks).
  9. In Holland: Piet Kee, Arie J. Keijzer, Jan Welmers and a ferry full with truckloads of Dutch choralbased crap ...
  10. The topic title would not pass through my mailfilter, btw.
  11. My guess: because the neo-baroque movement has 'taught' us to do so. Well, Schoenstein doesn't care obviously; may I invite you to listen to their new organ in the Laura Turner hall at Schermerhorn Symphony Center, Nashville? Click the audio player here.
  12. Cologne Cathedral 's tuttis + 64' gives quite an earthquake. Maybe that's something for St.Pauls if one would something, a 64' - the tutti is indeed very very loud near the south transept (tubas poking your ears).
  13. Don't worry about the power; Klais can handle that ;-)
  14. Name convention and composition were known to me. I believe someone one this forum once mentioned a 32 acoustic bass 'tric' by playing C 16' with the 8''s E, B-sharp and d - just like the theorbe. I've once tested this on the Hill in our church with a 'big' bourdon 16 and a very round st.d.8 and on some notes it shook the floor (although not like the one time a lorry stood before the church with a running engine, sounding exactly an octave below the 16' G - scary that was...).
  15. BTW. the stop 'theorbe' seems to be deployed mainly in modern, say post-symphonic instruments. For me the name is wrong; I don't see why renaissance names should line up in neo/post-symphonic designs, but that may be me being to 'calvinistic' (which all dutch are to some extend) perhaps?
  16. There are Bach recordings on the Treutmann organ in Grauhof, if one may count this one in (more: here ) It's a fabulous instrument.
  17. I even start to wonder if Bach's written organworks are ment for (his) performance, or if they're a means of study/development: for his pupils and/or for him self, to study and write down what were to / could be improvised 'live'. Kerala J. Snyder writes about this for Buxtehude's organworks: there's probably no way he could ever have played his f-sharp minor prealudium on the organ, yet he DID write it down. Is there any proof Bach actually ever played his own organ works (ie. from the number we still have) in public?
  18. May be, but he's very much more a 'Widor man'.
  19. Don't ask Jack Frost about Mullet
  20. Confusing, are the diaphone pictures on AL's picasa site the diaphones or is it the tuba profunda we're looking at?
  21. As far as I know, 'stylus phantasticus' is a form of composition where the composer is 'free' of any pre-defined form/methods, not nessecarily 'about abrupt changes of emotion'. Kerala J. Snyder writes interesting things about it in her (newest edition) Buxtehude book.
  22. As Einstein said: "everything should be made as simple as possible, but no simpler."
  23. Getting this right is a major technical progression; there is an old book (1920's ?) on pianotechnique (don't know at the moment who wrote it, must be here somewhere) on this matter. FWIW, it's great help to me to LISTEN if notes are exactly together; listen, relax and concentrate on sound, don't focus on 'getting them exact'. Good technique sits between your ears.
  24. heva

    Courcelina

    Went to Cologne yesterday to hear Colin Walsh play french (iron) repertoire (Langlais, Frank, Tournemire, Dupre, Durufle, and Bridge). Having arrived at the Dom half an hour before the concert, nearly all seats were taken, which seems to be 'immer so'; at 20.00 is was a full house (imagine the size ...), people even bringing there own chairs. The whole ensemble is awesome, the 'vox balanae' is somewhat terrifying: like a major earthquake ... Not sure which of the partyhorns was used, but the at the end of Durufle's 'Soissons-fugue' the used tuba sounded rather 'normal'; very loud, ok, but a civilised tone. There's not much (audible) timelag between the organs, both organs were used much in tutti passages (and alternating, to great effect), but the tutti is in no sense 'unpleasant' to here; it is a very loud, very large sound, but no screechy mixtures or reeds, still rather 'polite'. If you have a chance, go hear it.
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